We are well and truly at the pointy end of the competition now and the level of piano playing is spectacular.

The first concert of the 19th/20th Century Concerto round began with the Fazioli piano on stage. American pianist Kenneth Broberg unfurled the fantasy opening of Saint-Saëns’ Bach-meets-cabaret Piano Concerto No 2 with his head almost touching the wood of the piano. He dispatched runs charmingly, brought out delicate melodies with taste and skill and his accents with the orchestra and conductor Nicholas Milton were marvellously synchronised. Broberg used his whole body in flourishes – with forehead to the piano in the in moments and the recoil of cadences flinging his hands behind his head – but maintained a concentrated focus. His second movement was clean and crisp, Broberg polishing the shine and reflection of Saint-Saëns’ disco-ball piano figurations. The delicate final notes were beautifully placed. The manic tarantella of the Presto was frenzied, Broberg’s hands and arms rolling forwards, his gestures matching those of the strings in perfect sympathy and his body angled forward as if to launch into the piano. His turbulent cadenza passages were excellent and the descending lines of piano and horns demonstrated both deft ensemble...